看到马松林的作品时,就不禁想到了以上题目。和马松林的作品相关联,在这个问题中蕴含了诸多富有意味的话题。我们在中外美术史上可以看到,画家对图式的重视几乎是一致的。可以说,没有特定的图式就没有艺术家的创作根基,更不用说风格了。图式的重要性可见一斑。所以,贡布里希在谈到这个问题的时候,把它上升到传统的高度,认为图式决定了画家面对世界时的基本取向,正是在把握了传统图式的基础上画家 When I saw Ma Songlin’s work, I could not help but think of the above questions. Associated with Ma Songlin’s work, there are many interesting topics in this question. As we can see in the history of Chinese and foreign art, the painter’s emphasis on schemata is almost the same. It can be said that without a specific schema there is no basis for the artist’s creation, not to mention the style. The importance of schema is evident. Therefore, when discussing this issue, Gombrich elevated it to the traditional height and considered that the schema determines the basic orientation of the painter in the face of the world. It is on the basis of grasping the traditional pattern that the painter